...Hieronymus Bosch vs. Salvador Dali Thesis Statement: Hieronymus Bosch is like a 15th century version of Salvador Dali. Dali is a 20th century version of Bosch. The Idea of fantasy and surrealism has been around as long as man has. Hieronymus Bosch, famous for his fantastical, often monstrous, hybrid creatures, might in some ways be seen as a forerunner of the Surrealists. However, while the Surrealists played in the realms of dreams and the unconscious, Bosch was steeped in the religiosity of his age and the worlds he conjured up demonstrated what were believed to be the very real, and sobering, consequences of earthly behavior. The life of Bosch is an intriguing mystery – little is known of his early life, or where he studied in painting and arts. He wrote little in the form of letters and had no diaries accompanying his work – in fact all we know of him is either through his paintings, or through brief references to him through other people’s writing – we don’t even know for certain when he was born. Part of the Early Renaissance, Bosch lived all of his life in the Netherlands, and is known to have come from a family of artists and painters, though none of their works can be found today. But the mystery isn’t all that makes him so interesting – his art is a marvel to behold, and in my opinion his work is the most detailed and interesting I’ve ever seen. He was fond of triptychs, a series of paintings that slotted in beside each other to create a combined scene, the...
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...A formal analysis of an artwork is taking the artwork at its face value. It is not taking any outside information to make an analysis of a piece of artwork. Using outside information to gain more knowledge an understanding of the artwork is called contextual analysis. In Hieronymus Bosch’s Garden of Earthly Delights, a formal analysis will include color and repetition of this work. A contextual analysis will also be given. The color that dominates Bosch’s work is green, a secondary color. The other prominent colors in this work are a red, orange, and blue. Red and blue are complementary colors, which are more appealing to the eye. The human figures have a white value to them. This value gives the impression of purity and holiness. The left and middle panels are depicting the humans with a...
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...Sources dealing with Hieronymus Bosch’s artistic style and its cultural-religious context, particularly with regard to The Seven Deadly Sins and the Four Last Things. The contribution by Laura D. Gelfand, as published in The Seven Deadly Sins: From Communities to Individuals8, may prove to be the principal oeuvre that is relevant to the present study because the author places explicit focus on the social and moralistic implications of the painting in question. The author’s claim that The Seven Deadly Sins and the Four Last Things was intended to serve as a mirror-like image of one’s sins, with a view to “sharing God’s view of the world and recognizing oneself within this view”9 might certainly be taken as a reflection on the wider scholarship of the symbolism of the...
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...In 1495 Jan Van Eyck became the first Flanders painter to receive international fame. He was the court painter of Philip the Good, Duke of Burgundy. Jan Van Eyck completed “The Ghent”, one of the largest retable’s of the 15th century. His brother Hubert Van Eyck originally began work on it. Phillip the Good and his wife, Isabel Borlout commissioned this retable as a centerfold that diplomat retainer Jodocous Vyd built. It was dedicated to John the Baptist. Judicious Vyd political and social connections to the Ghent aided in him being appointed chief magistrate of Ghent. The altarpiece in its entirety expresses the Christian principal of salvation. In the oil painting of “Arnolfini and His Bride” Jan Van Eyck depicts a secular painting with religious undertones. The purpose of this painting was to record an sanctify Arnolfini‘s marriage. This retable included gold manuscript. Some scholars believe he was bestowing on his wife permission to conduct business matters in his absence .Rogier Van er Weyden became renowned for his biblical inspired paintings that stressed human action and drama. When Weyden was commissioned by the archer’s guild of Louvain for the church of Notre Dame he created “The Deposition” a center panel of a triptych. The painting resembles a relief carving and depicts Jesus after the crucifixion surrounded by key biblical figures. This oil on wood painting evokes strong emotion in the viewer and regarded as one of the most authentic religious paintings of the...
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...formed in the few centuries following the fall of the Roman Republic. This region was a large center of trade and thus, there was much wealth to draw many artists and scholars. However, there was a shift from the scholasticism of earlier mediaeval times to largely focusing on the humanities. There was also an emphasis on realism, attempting to remain as objective as possible when interpreting various works; drawing from studies in form, line, lighting, and the human figure based in Greek and Roman times. Eventually, in the last couple centuries of the period, the influences had spread across Europe partially due to the invention of the printing press. Several examples of Renaissance era artists are Leonardo da Vinci, Michelangelo, and Hieronymus Bosch.Surrealism is an art movement that officially started in 1924 with the publication of Le Manifeste du Surréalisme (The Surrealist Manifesto), written by André Breton. Surrealism is believed to have been formed as a reaction to the earlier Dadaism art movement, which aimed to be an anti-art protest of the horrors brought about from World War I. Focusing on the more positive side of that protest/revolutionary process, the surrealists sought to convey the thought process itself through their art, frequently using juxtaposition and dream imagery to produce colorful and exaggerated interpretations of reality. A major influence in this realm was the dream analysis of Sigmund Freud, earlier in the century, where the unconscious mind produces...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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